TWD Music Appreciation Thread

[This thread may take a moment to load]
Just a quick thread I wanted to whip up in honor of those composers and artists who work hard to give us ambiance and music. Here is my favorite song in the series so far:This brought music into my life: thank you, Anadel!

I just love this song. Every time he says "In the Water" and the piano plays, I get the shivers... and the depressing look on Clementine's face as the song plays... shivers I get vertigo every time...
What is your favorite music from The Walking Dead (show or game). Is the music intense, scary, emotional, sad? Post a comment below! LETS GET STARTED! EDIT: I will accept any music TWD related, be it remixes, parodies, or fan made. EDIT: EDIT: Montages and tributes will also be accepted. EDIT: EDIT: EDIT: Also, videos are appreciated and encouraged, though not required.

The track playing outside the drugstore with Doug (S1) really gave me the chills. I love that eerie atmo - what is the track title?
I love Clementine's score in any way. Love the new interpretation of it as the opening track of season 2.

Yeah I think In The Water is great. Also, for any other guitar players on this thread, here's the only tab I could find. The rhythms are way off, but the notes are all right.

The song that impacted me the most was very short. MikonReborn calls it "Found Them". It plays in Episode 5 when we finally see the outcome of Clementine's parents. But it really hit me hard when the dark version of Clementine's theme comes in.

But my FAVORITE song to come from The Walking Dead is the theme from 400 Days. The mysterious chords combined with all the hype I had for 400 Days and the trailer still give me chills.

the remixed version is pretty good but I think the original was better suited for the credits because it was more calming and the remix would seem out of place. Not to say that I wouldn't like to see it in a future episode because it is still very dramatic

I could just imagine a scene where Clementine is surrounded by walkers, and you have a choice to fight your way out or run. If you fight, a bunch of QTEs ensue and then this music plays as Clementine walks away. It'll never happen, but I picture it when I hear this.

(NB My recommendation for the immediate emotional payoffs is to preview these by skipping straight to the climactic points, in other words playing these from the point where Lee begins to pass out--that's 3:16 for all videos except the 3rd; in that one's case it's 7:10.)

Seeing that you asked, and seeing New Year's Eve counts as poker night for me, I might as well take a final gamble on these. I started two threads featuring various re-scorings I've put together of the game's final scene, but those never caught on. That begin said, here are two samples from each thread, along with the links to the threads themselves. I hope instead of counting on first impressions that some will be patient enough to play them through, seeing much of the musical payoff comes towards the end with the climactic points of the scene.

(Should you find the early portion a little overly sentimental, things eventually pay off well by 1:50 and especially towards the end):

(A little 'suspension of disbelief' required for this next one immediately below, and that is to tolerate and ignore the few seconds of harbour sound effects. Unfortunately, there was little way of extracting and eliminating those from the source audio. Again, this one pays off very well towards the climactic end.)

The threads for those first two: www.telltalegames.com/community/discussion/52725/videos-musical-rescorings-of-episode-5-final-scene www.telltalegames.com/community/discussion/48850/videos-spectacular-musical-rescorings-of-episode-5-final-scene

These next two come from a thread featuring rescorings with Near Eastern music themes (given I come from that area), so keep in mind they are meant to be a twist.

I decided on quite the twist with this particular rescoring, something more in line with those despondent and morose Bedouin tragedies. (And it is a twist, so it will call for some suspension of disbelief before adjusting to it as it begins to make more sense, connecting quite well with the dialogue at several points; 3:45-3:50, 5:25-5:28, and 6:43-6:52, and 8:43 are good examples.) It features the nai, only in a harsh and abrasive style that aims for raw atmosphere more so than melody. I've used earlier portions of the final scene with this one, where I think the music works better and very fittingly (1:20 to 1:58 particularly), but similar to the grating effect of bagpipes over a long while, it will wear out its welcome over time at around some point likely past the middle. (Admittedly, it deteriorates at around 5:35-7:10.) Once it becomes overbearing, I suggest skipping to 7:17 for a prelude to some very interesting closing music beginning at 7:51.

The thing about this scene is that the music was just subtle enough to push someone over the emotional edge. In the making of the Walking Dead, the composer said that he used his music as a support pillar helping the scene without moving it forward with the music itself. That being said, I really like what you did here, experimenting with music and seeing which fits. 10/10.

Thanks a lot. And I agree about the subtlety of the OST in the scene. As I put it in another thread:

"The original soundtrack in the scene is difficult to beat because its draw and strength comes from its minimalism, plus it's what we experienced actually playing this in the context of the entire game and can relate more to it: it has a place in the context of the whole. The final scene's music is ultimately a minor-mode version of the recurring Clementine-Lee theme that marks the stirring points in the game where the two further bond, but in its final appearance hits hard with a thicker texture using heavier lower-register notes on cello and bass to add more emotional weight and melancholy, and the tempo is slowed."

I also was aware that the music in these was a little louder than it should have been relative to the voice acting. Unfortunately, I could only bring it down so far before the OST became audible enough to cause the two to mix and clash.

The thing is some of the re-scorings I have done actually make use of the OST, either as musical complements that mesh in with the re-scoring or as necessary fillers during musical rests.

Even aside from that point, I realised much later on that I could have adjusted the game sound settings (only in-game and not through the movie making application) to lower or mute the game music and leave the voices. By that time, unfortunately, I had already had the footage recorded and the new scores integrated into the videos and could not be bothered to re-record and start over since when re-recording the video, it is fiendishly difficult to replicate the exact timing you initially executed with every dialogue choice in the first video recording, and when the video and rescored audio are off by a small increment, the result is a mess, since these videos work only when the melodic high points are synchronised properly with the right moments in dialogue. At any rate, at least the results were still satisfactory.